Written by Nick Eldredge
Where to even begin with Geese? I had the pleasure of seeing them at the tail end of their 3D Country tour when they made a pitstop at Kilby Block Party in May 2025. I wasn’t the most dedicated fan yet; I had only heard a handful of songs before their set. During their set, Cameron Winter and co. enjoyed goofing around on stage in between songs, and even gave the crowd a preview of the opening track of Getting Killed, “Trinidad.” With one strike of the guitar, the crowd was enthralled. A massive mosh pit was formed by all of the unsuspecting fans; none of us knew what to expect. I didn’t realize it at the time, but what I was about to witness was the start of this band skyrocketing toward more stardom than they had already gained.
Tickets to see Geese on tour for their new album are upwards of $100, something that feels unexpected but after every listen to this album the picture becomes clearer. We are all witnessing the rise of a new era of rock, and Cameron Winter is the captain of the ship. Getting Killed sails through the waters of music muddled with soulless songwriting and boring instrumentals and casts its sails towards indie rock fame. Not a single second of the nearly 46-minute runtime is wasted. It’s hard to nail down a favorite when the entire album is so beautifully crafted, that in part to the production of Kenny Beats.
The violent and loud start to the record transitions to a more melodic song in Cobra. The song speaks on love and uses the metaphor of a Cobra as charming love that can turn into violence, and this song is definitely a favorite of mine off the album. We flow into Husbands and then into Getting Killed, another heavy hitter that shares the name of the album title. It’s a rather striking start coming off the tail end of a slower song in Husbands. I love that the song emphasizes a broader theme, at least from what I pulled, of the album speaking on taking control of your own life. Then we get into arguably the best half of the album. The next 6 songs: Islands of Men, 100 Horses, Half Real, Au Pays du Cocaine, Bow Down, and Taxes all flow so seamlessly together, like the waves in the ocean the band glides through.
Islands of Men and 100 Horses speak on loneliness and wanting to escape the world in which we live. Half Real uses religious themes to speak on Cameron or, perhaps more metaphorical, the narrator’s longing to get rid of the desires that lead to their escapist mentality. They want to feel loved and content. This theme is continued through the newly found viral song Au Pays du Cocaine. The narrator is longing for connection but has to leave their love behind and uses the imagery sailor superstitions to say that this love could be impossible. We are then hit again by a faster-paced, religiously heavy, song in Bow Down where the narrator speaks about the desire to be pure and content in the world. And finally, Geese’s incredible single from the album, Taxes. I haven’t quite nailed down the exact metaphor the band is going for with this song, but to me it feels like a song speaking on sacrifice.
Long Island City Here I come, I believe, is the band, or maybe speciafically Cameron, is telling us that they are ushering in a new era of rock music, “you were there the day the music died, and I’ll be there the day it dies again.” Only Cameron Winter and Geese know the path that they are carving for themselves in the world of music, and who are we to say they aren’t going to
be the pioneers of a new generation of music. This album started as a band getting on a ship and voyaging across the ocean of music. The album ends with them on an island, an unknown world of music greatness that soon we will all be able to witness soon. I think I speak for everyone that enjoyed this album when I say I can’t wait to see the journey Geese take us on next.